The annual kitsch & Camp-fest that is the ‘Eurovision Song Contest’ reached its deciding climax just a few days ago (Saturday May 14th) in Stockholm, Sweden and, as per usual, it was as glitteringly garish and head-scratchingly ridiculous when it came to choice of stage-costumes for some of the acts participating. Here’s some examples from over the years…

The songs up for contest (if you can call them, “songs,” with a straight face) are – in the overwhelming majority – so bad and so lacking in any originality that they often pale into insignificance next to the more interesting, albeit bafflingly outlandish costumes on display as well as the (unintentionally) comical dance-routines and stage-props.
If you’re unfamiliar with this annual competition and the – erm – ‘music’ it serves up, then here’s a very brief, not altogether comprehensive (but concise enough) description… It’s modern, mainstream Pop at its most vapid. Think Justin Bieber or Leona Lewis and then degrade them both by 10 (actually – more). This’ll give you an idea of how awful it all is. Perhaps worse than that, most of the songs have often sounded so dated, especially if you’re used to listening on a regular/daily basis to what’s on offer by way of America and Britain, the trailblazers in popular music. It’s like turning on your loud-speakers and travelling back a couple of decades or more to the tunes that, not only you, but time itself would like to forget. For example, remember that achingly-terrible hit single, ‘Looking for Freedom’ by one-time ‘Baywatch’ and ‘Knight Rider’ actor, David Hasslehoff? It’s not actually a Eurovision number and ‘The Hoff’ has never participated in the contest either, but, as far as ‘Conspiro Media’ is concerned, both the song and its star would fit in to the event like the proverbial hand in the glove. Here he is performing it live on the Berlin Wall back in 1989…

Is it any wonder – given all this cheesy, campy pomp – that the Eurovision has become a favourite within the so-called ‘LGBT’ community, where culture-trash of the most glamorous and garish variety is not only laughed at, but championed and enjoyed? Perhaps this is why, in 2014, the Austrian singer and drag-queen, Conchita Wurst (A.K.A. Thomas Neuwirth) was given the platform to shine on the contest, ultimately winning it?…

Conchita Wurst performing at the Eurovision in 2014.

Years earlier, in 1998, the singer, Dana International made history of sorts, becoming the first ever transgender person to be crowned Eurovision winner. Some might say all this is a canny, commercially-savvy move by the organisers of the contest to woo the lucrative gay audience. Others – most notably with an ‘Alternative’ view – have suggested that there’s a much more malevolent plan at play. For example, some commentators believe this is a push on behalf of the so-called ‘global elites’ to promote and effectively normalise amongst the masses the idea of men becoming women and vice versa, thus bringing about the destruction of humanity. The title of Conchita’s winning song, ‘Rise Like A Phoenix’ has, not surprisingly, been open to suspicion too, given its dark occult connotations.

Dana International.

Dana International was the Israeli entry in the competition, which in itself has been a cause for question. After all, what’s a country from the Middle East doing in a Euro-vision event that was first held back in 1956 after the public-service media alliance and non-profit organisation, the ‘EBU’ (‘European Broadcasting Union’) decided to create a TV-show that could be transmitted simultaneously in all the nations it represented? Well, according to a page on the contest’s official website, this is why:

Okay… so that’s that then. The above graphic also explains why Turkey regularly participates in the contest. Fair enough.
But!… Wait a minute…
Why has Australia been welcomed into the competition in the last couple of years? It’s certainly not highlighted in the graphic, which would leave one to assume – would it not – that it isn’t eligible for participation? Working on the possibility that the above map is, for whatever reason, inaccurate, ‘Conspiro Media’ went looking elsewhere for information that could perhaps conclude once and for all if this country in particular was adhering to the requirements for entry, one of which is that it must be what’s described as an “active member” of the EBU. Well, according to PDFs on the organisation’s official website, the answer to this, it seems, would be, no. A document dated, 9.3.2016 and listing all 73 members (56 countries) of the European Broadcasting Union, makes absolutely no reference to Australia. It does hold what’s described as an “associate membership of the EBU,” but, “it is important to note that associate membership does not grant access to the Eurovision system.” Mmmm… Are we missing something here? It makes no difference if we are, as it happens because the issue here isn’t whether or not any one country must honour these rules set out by the EBU in order to gain eligibility for the Eurovision contest, but whether there’s a suspicious, secret agenda behind what, arguably, was regarded in past decades as a quintessentially European competition becoming, in more recent times, increasingly global, taking in not only Australia but, this site is predicting, America as well. The all too obvious tell-tale sign of this was there to be seen and heard during Saturday night’s live contest when Justin Timberlake appeared mid-way to perform live. This would, undoubtedly, have shocked millions of viewers; a US Pop-star – especially one of his stature on the music-world stage – taking part in a show that has had no previous links of significance to the United States. As far as ‘Conspiro Media’ is aware, this is a first. It was also, perhaps, an orchestrated, introductory step towards the future involvement of the Americans? “No I don’t think so,” Eurovision executive supervisor, Jon Ola Sand reportedly told the UK-based newspaper/website, ’The Guardian’ when asked about the USA’s possible participation as a contestant in, say, 2017. Oh. But wait! He then went on to be quoted as stating that “this could change.” Aha.

Justin Timberlake performing at the Eurovision, 2016.

The first Eurovision Song Contest final consisted of just seven competing countries, those being: Belgium, France, Germany, Italy, Luxembourg, the Netherlands and Switzerland. In 2016 the total was 26, including, as noted, some non-European entrants. Jon Ola Sand has reportedly dismissed any suggestion that the event will eventually grow into what’s described in The Guardian piece as, “Worldvision.” But, hey. Who knows? “This could change” too, right? There’s already talk of an EBU-backed ‘Asiavision’ equivalent coming our way, and in co-operation with the Australian, ‘SBS’ (‘Special Broadcasting Service’). Incidentally – and call this cynical if you like – but, is that the reason why the grand finalist competing in this year’s contest on behalf of that country ‘just happened to be’ the Korean-born singer/song-writer, Dami Im? Furthermore, the spokesperson appearing live-by-satellite in Sydney for the Aussie judges during the event that evening in Stockholm was the Special Broadcasting Service’s network-TV presenter, Lee Lin Chin who hails from Indonesia (with Chinese parents).

So, who’s to say then that, in the space of a few years, ‘Asiavision’ won’t eventually merge with its ‘Euro’ counterpart before becoming a global model, much in the same way that researchers such as David Icke have warned us of the European Union and its eventual and inevitable integration into a One World Government by means of small, slow, unnoticeable, incremental steps – a devious process famously dubbed the ‘Totalitarian Tiptoe’? A hugely-popular event such as the Eurovision could, in its own modest but significant way, help realise the globalists’ dream through the use of NWO-friendly propaganda of both an overt and subliminal kind. There were certainly one or two moments during Saturday’s contest that raised the eyebrows in this regard, for example, there’s this…

‘Come Together’ for what? For an end to individuality? For the eradication of countless national cultures, customs and ways of living? For the homogenisation of us all into one bland, compliant global Race with one government, one religion, and, perhaps, one language? You would have been hard-pressed to identify what country each of the acts on Saturday’s Eurovision were representing if you didn’t pay attention to the screen-captions or the voice-over announcers – and that’s mainly because all but one of the entrants reportedly sang in English! Veteran broadcaster and music-pundit, Paul Gambaccini, is quoted as saying that this “shows the evolution of what it is like to be European. When the Eurovision Song Contest began, almost everyone sang in their native language and now everybody knows English. It is just reflecting the times.”

This article is mostly based on a hunch after viewing certain scenes from Saturday’s competition, but there isn‘t much in the way of strong evidence to back any of it up, just one or two classic tell-tale signs for you to take a look at and consider. Some of what you’ve read here (if not all of it) might have come across as ridiculous to you – even if you do lean towards an Alternative view. No surprise, really. There is something almost comical in the idea of the much-mocked Eurovision Song Contest playing an invaluable role in manipulating the minds of the masses for the good of a One World Order. But, when you’re aware of what has actually been carried out in the past by the media on behalf of governments and the Military/Intelligence/Industrial complex, it’s perhaps not so preposterous a thought? The event was jokingly referred to by, of all people, President Obama during a visit to Germany last month. Joshing aside though, he did mention it, albeit very briefly, for a purpose, right in the middle of a speech promoting the European Union project in fact. He said, “with strength and resolve and the power of our ideals, and a belief in a unified Europe, we didn’t simply end the Cold War – freedom won. Germany was reunited. You welcomed new democracies into an even ‘ever closer union.’ You may argue over whose football clubs are better, vote for different singers on Eurovision. (Laughter). But your accomplishment – more than 500 million people speaking 24 languages in 28 countries, 19 with a common currency, in one European Union – remains one of the greatest political and economic achievements of modern times.” According to the contest’s official website, nearly 200 million people watched 2015’s grand final. That’s a hell of a lot of people, and a hell of a lot of minds ripe for manipulation! So, if you do in future find yourself for whatever reason exposed to a TV showing this event, seriously consider the possibility (if you haven’t already) that beneath that garish, side-splittingly amusing layer of cheese, there’s something going on with the Eurovision Song Contest that is by no means a laughing matter.

Gonna sign off here with an edited screen-cap of a page from the Eurovision’s own website from last year…